School drop-out Philippe Starck jump-started his career by designing two nightclub interiors in Paris in the 1970's. The success of the clubs won the attention of President Francois Mitterand, who asked Starck to refurbish one of the private apartments in the Elysee Palace.
Two years later, Starck designed the interior of the Café Costes, Paris, and was on his way to becoming a design celebrity. In quick succession, he created elegant interiors for the Royalton and Paramount hotels in New York, the Delano in Miami and the Mondrian in Los Angeles. He also began to produce chairs, lamps, motorbikes, boats and a line of house wares and kitchen utensils, like his Juicy Salif for Alessi.
During the 1980's and 90's Starck continued his prolific creativity. His products have sensual, appealing forms suggestive of character or personal identity and Starck often conferred upon them clever, poetic or whimsical names (for example, his Rosy Angelis lamp, the La Marie chair and playful Prince Aha stool.) Starck's furniture also often reworks earlier decorative styles. For example, the elegant Dr. No chair is a traditional club chair made unexpectedly of injection-molded plastic. While the material and form would seem to be contradictions, it is just such paradoxes that make Starck's work so compelling.
Starck's approach to design is subversive, intelligent and always interesting. His objects surprise and delight even as they transgress boundaries and subvert expectations. During the 90's Starck has also begun to promote product longevity and to stipulate that morality, honesty and objectivity become part of the design process. He has said that the designer's role is to create more "happiness" with less. One can almost hear echoes of Charles and Ray Eames, who "wanted to make the world a better place."
For all his fame and fashionableness, Starck's work remains a serious and important expression of 20th century creativity.
Panier is the first object to be signed by Ronan and Erwan Bouroullec for Kartell. Their rigorous technological and functional research resulted in a container basket in a simple but very communicative shape.
Comprised of four modules to form the four fourths of a shiny, transparent circle bursting into rays of light. The fourths are attached to each other using opaque joints and stability is achieved simply by using inserts.